The Haute Ecole de Joaillerie (HEJ) is the oldest jewellery school in France and lies at the heart of the institution of Parisian fine jewellery. This article examines the use of training models at the HEJ for transmitting technical and spatial expertise, resulting in fine jewellery knowledge that is standardized, evaluated and differentiated on a national and local scale. It reveals how these models connect students with the historic roots of the jewellery industry in Paris, namely the pre-modern craft guilds of goldsmiths, and also with the jewellery houses of the Place Vendôme, which emerged in the nineteenth century and are today the defining feature of Parisian fine jewellery. It is argued that the training models act as a lynchpin, linking Parisian fine jewellery across and within generations. This article contributes to literature on the growth and evolution of Parisian craft and design industries that remain recognizably identifiable with the city and their history in the face of the incursion of global markets.
{"title":"Training models in Parisian fine jewellery education","authors":"Joséphine de Staël","doi":"10.1386/crre_00092_1","DOIUrl":"https://doi.org/10.1386/crre_00092_1","url":null,"abstract":"The Haute Ecole de Joaillerie (HEJ) is the oldest jewellery school in France and lies at the heart of the institution of Parisian fine jewellery. This article examines the use of training models at the HEJ for transmitting technical and spatial expertise, resulting in fine jewellery knowledge that is standardized, evaluated and differentiated on a national and local scale. It reveals how these models connect students with the historic roots of the jewellery industry in Paris, namely the pre-modern craft guilds of goldsmiths, and also with the jewellery houses of the Place Vendôme, which emerged in the nineteenth century and are today the defining feature of Parisian fine jewellery. It is argued that the training models act as a lynchpin, linking Parisian fine jewellery across and within generations. This article contributes to literature on the growth and evolution of Parisian craft and design industries that remain recognizably identifiable with the city and their history in the face of the incursion of global markets.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43953052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Alice Kettle’s stitched works can be viewed in the canon of English figurative embroidery. She uses stitch and thread as a narrative device and as a connecting line, which ties together individual and collective stories as multiple strands across time. The article gives an overview of Kettle’s works which integrate autobiography with mythology and contemporary event, tracing the lineage practices of women and offering a feminine viewpoint to chronicle experience. The works document the recent histories of sociopolitical disruption in Europe, which heralded the fragmentation of unity and Brexit. The recent project Thread Bearing Witness concerns people displacement, migration and global conflict. Stitch is used as a means to represent the marginalized and multiple voices of refugees and those seeking asylum. Stitch is viewed as an expressive and empowering means to change perceptions, promote change and as a common language of making.
{"title":"Tying the knots","authors":"Alice Kettle","doi":"10.1386/crre_00098_1","DOIUrl":"https://doi.org/10.1386/crre_00098_1","url":null,"abstract":"Alice Kettle’s stitched works can be viewed in the canon of English figurative embroidery. She uses stitch and thread as a narrative device and as a connecting line, which ties together individual and collective stories as multiple strands across time. The article gives an overview of Kettle’s works which integrate autobiography with mythology and contemporary event, tracing the lineage practices of women and offering a feminine viewpoint to chronicle experience. The works document the recent histories of sociopolitical disruption in Europe, which heralded the fragmentation of unity and Brexit. The recent project Thread Bearing Witness concerns people displacement, migration and global conflict. Stitch is used as a means to represent the marginalized and multiple voices of refugees and those seeking asylum. Stitch is viewed as an expressive and empowering means to change perceptions, promote change and as a common language of making.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136274766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect, John Corso-Esquivel (2021) New York: Routledge, 182 pp., ISBN 978-0-36778-575-8, h/bk, £91.00 ISBN 978-0-36778-575-8, p/bk, £27.99 ISBN 978-1-35118-783-1, e-book, £27.99
《纤维艺术与工艺中的女权主义主体性：情感的阴影》，John Corso Esquivel（2021），纽约：Routledge，182页，国际标准图书编号978-0-36778-575-8，h/bk，91.00英镑，国际标准书号978-0-3678-575-8，p/bk，27.99英镑，电子书，27.99
{"title":"Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect, John Corso-Esquivel (2021)","authors":"A. Kettle","doi":"10.1386/crre_00102_5","DOIUrl":"https://doi.org/10.1386/crre_00102_5","url":null,"abstract":"Review of: Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect, John Corso-Esquivel (2021)\u0000 New York: Routledge, 182 pp.,\u0000 ISBN 978-0-36778-575-8, h/bk, £91.00\u0000 ISBN 978-0-36778-575-8, p/bk, £27.99\u0000 ISBN 978-1-35118-783-1, e-book, £27.99","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48850771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I aim to explore the role that craft has played in terms of social resistance for three native peoples: the Iku and Nasa peoples in Colombia and the Sámi people in Sweden. The methodology is based on ethnography. Interviews were performed with Indigenous makers and experts with the objective to understand Indigenous craft and social processes. Inspirations, techniques and materials involved in the Indigenous craft traditions and their relation to social resistance were studied. Social resistance of a political, ecological and cultural nature manifests itself in craft practices, in terms of materiality and implicit meaning. The article includes a brief of the analysed Indigenous communities and the rationale behind the author’s wish to learn from their craft traditions. A theoretical framework based on the concepts of social resistance and craft is also included. The article finalizes with a reflection on the role of craft in terms of social, cultural, political and ecological resistance.
{"title":"Craft as resistance: A case study of three Indigenous craft traditions","authors":"Stefania Castelblanco Pérez","doi":"10.1386/crre_00085_1","DOIUrl":"https://doi.org/10.1386/crre_00085_1","url":null,"abstract":"In this article, I aim to explore the role that craft has played in terms of social resistance for three native peoples: the Iku and Nasa peoples in Colombia and the Sámi people in Sweden. The methodology is based on ethnography. Interviews were performed with Indigenous makers and experts with the objective to understand Indigenous craft and social processes. Inspirations, techniques and materials involved in the Indigenous craft traditions and their relation to social resistance were studied. Social resistance of a political, ecological and cultural nature manifests itself in craft practices, in terms of materiality and implicit meaning. The article includes a brief of the analysed Indigenous communities and the rationale behind the author’s wish to learn from their craft traditions. A theoretical framework based on the concepts of social resistance and craft is also included. The article finalizes with a reflection on the role of craft in terms of social, cultural, political and ecological resistance.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48247847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Documentation of historical objects is already included in established research areas, such as archaeology and conservation. From a craft perspective, studies of objects can contribute to the understanding and revitalization of broken craft traditions. In this article, I present a methodological approach for the documentation of craft objects, including a comparison of traditional analogue methods and modern digital photogrammetry. From a boatbuilder’s perspective, I document traditional boats. In my current Ph.D. project, I investigate how documentation of objects, from a craftsperson’s perspective, can be used to reconstruct craft processes. The case study is on the ‘Öka’ from the Stockholm archipelago, a local variation of the Nordic clinker boat tradition. In this article, I present the basic structure of my boat documentation work and pinpoint some specific examples of the use of digital methods, analogue measuring and documentation led by craft practice. A good practice of documentation needs to consider the advantages and shortcomings of analogue as well as digital methods and also integrate the craftsperson’s perspective. Even if the craftsperson-researcher is skilled, artefacts have limitations as sources of craft knowledge, which must be taken into account in the interpretation process. An awareness of one’s own traditions and prejudices is needed to interpret a boat built in an older tradition. The documentation should be guided by craft practice, deliberately focusing on questions that reconstruction work generates.
{"title":"A boatbuilder’s approach to boat documentation","authors":"Fredrik Leijonhufvud","doi":"10.1386/crre_00083_1","DOIUrl":"https://doi.org/10.1386/crre_00083_1","url":null,"abstract":"Documentation of historical objects is already included in established research areas, such as archaeology and conservation. From a craft perspective, studies of objects can contribute to the understanding and revitalization of broken craft traditions. In this article, I present a methodological approach for the documentation of craft objects, including a comparison of traditional analogue methods and modern digital photogrammetry. From a boatbuilder’s perspective, I document traditional boats. In my current Ph.D. project, I investigate how documentation of objects, from a craftsperson’s perspective, can be used to reconstruct craft processes. The case study is on the ‘Öka’ from the Stockholm archipelago, a local variation of the Nordic clinker boat tradition. In this article, I present the basic structure of my boat documentation work and pinpoint some specific examples of the use of digital methods, analogue measuring and documentation led by craft practice. A good practice of documentation needs to consider the advantages and shortcomings of analogue as well as digital methods and also integrate the craftsperson’s perspective. Even if the craftsperson-researcher is skilled, artefacts have limitations as sources of craft knowledge, which must be taken into account in the interpretation process. An awareness of one’s own traditions and prejudices is needed to interpret a boat built in an older tradition. The documentation should be guided by craft practice, deliberately focusing on questions that reconstruction work generates.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42057015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Biennial International Conference for the Craft Sciences (BICCS), Hybrid conference, Department of Conservation and the Craft Laboratory, Gothenburg University, Mariestad, 4–6 May 2021","authors":"B. Aktaş","doi":"10.1386/crre_00088_5","DOIUrl":"https://doi.org/10.1386/crre_00088_5","url":null,"abstract":"","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Craft knowledge is built from examples of experiential knowledge, and when individual or group experiences are gathered and compared, new knowledge is created. This requires socialization between practitioners or a systematic collection of practice descriptions, such as in a manual. However, there is always a risk that knowledge that is difficult to put into words will never be captured or communicated. The aim of this article is to show how theoretical frameworks can be used as analytical tools to help us develop methods that support the communication of craft knowledge. Using a research-through-practice approach in the field of horticulture combined with frameworks based on Bengt Molander’s concept of three knowledge orientations and Nonaka and Takeuchi’s knowledge conversation criteria (SECI-model), I will discuss how it is possible to make practitioners’ subjective knowledge more readily available to others.
{"title":"Knowledge in our hands: Analytical tools for craft knowledge communication","authors":"Tina Westerlund","doi":"10.1386/crre_00078_1","DOIUrl":"https://doi.org/10.1386/crre_00078_1","url":null,"abstract":"Craft knowledge is built from examples of experiential knowledge, and when individual or group experiences are gathered and compared, new knowledge is created. This requires socialization between practitioners or a systematic collection of practice descriptions, such as in a manual. However, there is always a risk that knowledge that is difficult to put into words will never be captured or communicated. The aim of this article is to show how theoretical frameworks can be used as analytical tools to help us develop methods that support the communication of craft knowledge. Using a research-through-practice approach in the field of horticulture combined with frameworks based on Bengt Molander’s concept of three knowledge orientations and Nonaka and Takeuchi’s knowledge conversation criteria (SECI-model), I will discuss how it is possible to make practitioners’ subjective knowledge more readily available to others.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46799261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Camilla Groth, K. Townsend, Tina Westerlund, G. Almevik
This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4–6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adhesive between other domains. In this editorial we claim that craft practice is ubiquitous, since acts of ‘crafting’ are infiltrated in most aspects of society, from the industrial workplace to the home. In addition to being a professional domain, craftmanship is also an attitude and a way of life. Craft making further facilitates shared reflective platforms which can carry and sustain cultural associations, or even social resistance, over time. We hope to invite readers to extend the notions of what crafts can be, by discussing issues related to such various topics as plant propagation, crystal growing, neuroscientific activity tracking, multimodal presentations of craft research and hybrid forms of digital and handmade craft processes. We also present an overview of educational contexts of crafts and discuss the role of the craft practitioner in heritage studies such as traditional boat building or industrial lace making.
{"title":"Craft is ubiquitous","authors":"Camilla Groth, K. Townsend, Tina Westerlund, G. Almevik","doi":"10.1386/crre_00076_2","DOIUrl":"https://doi.org/10.1386/crre_00076_2","url":null,"abstract":"This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4–6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adhesive between other domains. In this editorial we claim that craft practice is ubiquitous, since acts of ‘crafting’ are infiltrated in most aspects of society, from the industrial workplace to the home. In addition to being a professional domain, craftmanship is also an attitude and a way of life. Craft making further facilitates shared reflective platforms which can carry and sustain cultural associations, or even social resistance, over time. We hope to invite readers to extend the notions of what crafts can be, by discussing issues related to such various topics as plant propagation, crystal growing, neuroscientific activity tracking, multimodal presentations of craft research and hybrid forms of digital and handmade craft processes. We also present an overview of educational contexts of crafts and discuss the role of the craft practitioner in heritage studies such as traditional boat building or industrial lace making.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47671466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Craft research is becoming an established, but sometimes also controversial, part of the international academic community. Consequently, it is a science in the socially accepted sense. However, as the experience from Sweden shows, there are also doubts about whether craft research is yet to be considered as a full-blown science, because it has not yet reached a ‘theoretical level’. In this article, I focus on the notion of science in order to find meeting points between the methodological and the epistemological aspects of the sciences and the crafts, that is the human aspects of the sciences and the crafts. In particular, I want to throw light on the human aspects of theories, with reference to Thomas Kuhn’s ideas of normal science. A main point is that ‘theories’ may be expressed in and by practices, not only by words, but that we should not ask if a theory is expressed in words or practices or in other ways. I argue that the most important entrance to the understanding of the notions of science, craft and theory is through the notion of communities of mutual learning, which cannot grow and develop without both agreements and disagreements, sometimes perhaps unsolvable disagreements. However, ‘unsolvable’ is not a final stop, but rather a point of departure for further, or other, questions.
{"title":"Ways we are connected to the world: Craft and/or science?","authors":"Bengt Molander","doi":"10.1386/crre_00077_1","DOIUrl":"https://doi.org/10.1386/crre_00077_1","url":null,"abstract":"Craft research is becoming an established, but sometimes also controversial, part of the international academic community. Consequently, it is a science in the socially accepted sense. However, as the experience from Sweden shows, there are also doubts about whether craft research is yet to be considered as a full-blown science, because it has not yet reached a ‘theoretical level’. In this article, I focus on the notion of science in order to find meeting points between the methodological and the epistemological aspects of the sciences and the crafts, that is the human aspects of the sciences and the crafts. In particular, I want to throw light on the human aspects of theories, with reference to Thomas Kuhn’s ideas of normal science. A main point is that ‘theories’ may be expressed in and by practices, not only by words, but that we should not ask if a theory is expressed in words or practices or in other ways. I argue that the most important entrance to the understanding of the notions of science, craft and theory is through the notion of communities of mutual learning, which cannot grow and develop without both agreements and disagreements, sometimes perhaps unsolvable disagreements. However, ‘unsolvable’ is not a final stop, but rather a point of departure for further, or other, questions.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44062970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Grown crystals are used for a range of novel innovations supporting a wide array of industries such as technology, medicine and electronics. Within the jewellery industry however, grown crystals are only used in a limited capacity and those of gemstone quality mainly as a surrogate for mined gemstones. They have remained largely underused, despite their potential sustainability credentials and the creative possibilities the incorporation of the process of crystal growth holds for jewellery designers. The bespoke growth of gemstone quality crystals could lead to highly unique jewellery designs which would result in higher consumer attachment. This in addition to the potentially more sustainable production of these stones would lead to overall more sustainable products. To address the barriers that are holding jewellery designers back from exploring the growth of crystals in their practice, and to address the knowledge gap that underpins this barrier, this article presents a practice-based exploration into the method of Crystal Growing Design for jewellery. Alongside reviewing a selection of the limited number of jewellery designers who have explored organic crystal growth, the article discusses the results of the practice-based explorations done. Three hypotheses derived from the characteristics and advantages of Growing Design were tested in three case studies and aimed to explore the design opportunities the method provides designers when (1) growing in situ either in designs or (2) around shapes or (3) when utilizing the grow-ability of the process as a feature. Because the growth of gemstone quality crystals requires more elaborate and high-cost equipment, sugar, alum and salt were experimented with as a prelude to further experimentation with the technique using gemstone grade crystals. Through utilizing an explorative Do-It-Yourself (DIY) approach, the author documents and discusses the opportunities and challenges presented by the incorporation of a crystal growth method into the jewellery design practice. The research article will additionally reflect on the DIY growth of these non-gemstone quality crystals as a meaningful learning process for jewellery designers wishing to gain a deeper understanding of crystal growth. The DIY growth of crystals can be considered a valuable tinkering process to investigate design ideas. Which is particularly relevant since the method of growing crystals holds creative potential when designing jewellery in collaboration with crystal growers, or through incorporating gemstone crystal growth processes, which are the topic of the author’s overarching Ph.D. research.
{"title":"Crystal Growing Design method: An investigation into the growing of crystals for jewellery designs","authors":"S. Boons","doi":"10.1386/crre_00081_1","DOIUrl":"https://doi.org/10.1386/crre_00081_1","url":null,"abstract":"Grown crystals are used for a range of novel innovations supporting a wide array of industries such as technology, medicine and electronics. Within the jewellery industry however, grown crystals are only used in a limited capacity and those of gemstone quality mainly as a surrogate for mined gemstones. They have remained largely underused, despite their potential sustainability credentials and the creative possibilities the incorporation of the process of crystal growth holds for jewellery designers. The bespoke growth of gemstone quality crystals could lead to highly unique jewellery designs which would result in higher consumer attachment. This in addition to the potentially more sustainable production of these stones would lead to overall more sustainable products. To address the barriers that are holding jewellery designers back from exploring the growth of crystals in their practice, and to address the knowledge gap that underpins this barrier, this article presents a practice-based exploration into the method of Crystal Growing Design for jewellery. Alongside reviewing a selection of the limited number of jewellery designers who have explored organic crystal growth, the article discusses the results of the practice-based explorations done. Three hypotheses derived from the characteristics and advantages of Growing Design were tested in three case studies and aimed to explore the design opportunities the method provides designers when (1) growing in situ either in designs or (2) around shapes or (3) when utilizing the grow-ability of the process as a feature. Because the growth of gemstone quality crystals requires more elaborate and high-cost equipment, sugar, alum and salt were experimented with as a prelude to further experimentation with the technique using gemstone grade crystals. Through utilizing an explorative Do-It-Yourself (DIY) approach, the author documents and discusses the opportunities and challenges presented by the incorporation of a crystal growth method into the jewellery design practice. The research article will additionally reflect on the DIY growth of these non-gemstone quality crystals as a meaningful learning process for jewellery designers wishing to gain a deeper understanding of crystal growth. The DIY growth of crystals can be considered a valuable tinkering process to investigate design ideas. Which is particularly relevant since the method of growing crystals holds creative potential when designing jewellery in collaboration with crystal growers, or through incorporating gemstone crystal growth processes, which are the topic of the author’s overarching Ph.D. research.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43431347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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